Ceaseless interruptions: the tear of the form in Cent mille milliards de poèmes, by Raymond Queneau, Tom, Tom, the Piper’s son, by Ken Jacobs, and Patterns, by Gerhard Richter

Authors

  • Alexandre Rodrigues da Costa Universidade do Estado de Minas Gerais

DOI:

https://doi.org/10.11606/issn.2178-0447.ars.2017.121072

Keywords:

formless, interruption, labyrinth, instability

Abstract

Our study aims to analyze the formless, anti-concept formulated by Georges Bataille, applying it to works Cent mille milliards de poèmes, by Raymond Queneau, Tom, Tom, the Piper's son, by Ken Jacobs, and Patterns: divided, mirrored, repeated, by Gerhard Richter. These works are open through tears, to the inability to set limits, since they generate excesses of meanings, which are based on the instability of form.

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Author Biography

  • Alexandre Rodrigues da Costa, Universidade do Estado de Minas Gerais

    Graduação em Letras (UFMG). Mestrado em poéticas da Modernidade (UFMG) e Doutorado em Literatura Comparada (UFMG). Pós-doutorado em literatura (UFMG). Professor de História da Arte, na Escola Guignard (UEMG), departamento de Disciplinas Teóricas e Psicopedagógicas.

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Published

2017-04-30

Issue

Vol. 15 No. 29 (2017)

Section

Articles

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How to Cite

Costa, A. R. da. (2017). Ceaseless interruptions: the tear of the form in Cent mille milliards de poèmes, by Raymond Queneau, Tom, Tom, the Piper’s son, by Ken Jacobs, and Patterns, by Gerhard Richter. ARS, 15(29), 200-215. https://doi.org/10.11606/issn.2178-0447.ars.2017.121072